Antonia Mercé y Luque (September 4, 1890 – July 18, 1936), also known as La Argentina, was an Argentine-born Spanish dancer who created the neoclassical style of Spanish dance. She was widely regarded as one of the most famous Spanish dancers of the 20th century and was nicknamed the "Queen of the Castanets" and the "Flamenco Pavlova."
Biography
Early life
Antonia Mercé y Luque, also known as La Argentina, was born in Buenos Aires, Argentina, to parents who were professional Spanish dancers, Manuel Mercé and Josefina Luque. She started her dance training with her parents in ballet and was primarily trained by her father at the age of four. She made her debut performance at the Teatro Real in Madrid, Spain, at the age of nine and became a star dancer at the Madrid Opera by the age of eleven. After the death of her father, La Argentina retired from ballet and began studying native Spanish dances with her mother at the age of 14.
Career
At the beginning of her career, La Argentina faced disapproval of her style of dancing from society, which prevented her from performing in theaters and concerts. She then performed in venues accessible to her, including café cantantés and music halls.
Before World War I, La Argentina traveled to Paris, where she performed at various prominent locations such as the Moulin Rouge and the Théâtre des Champs-Élysées. Later on, she developed an interest in a Romani-style dance and adapted it to her own style. Her rendition of this dance inspired Metropolitan Opera star Rosa Ponselle to prepare the dances for her portrayal of Bizet's "Carmen" under La Argentina's guidance in 1935.
Throughout her career, La Argentina embarked on six tours in North America, often accompanied by flamenco guitarist Carlos Montoya.
Death
On July 18, 1936, La Argentina passed away at the age of 46 in Bayonne, France.
Awards
La Argentina was recognized for her contributions to dance with several prestigious awards. She was awarded the French Légion d'honneur and the Spanish Orden de Isabel la Católica. A commemorative plaque was placed in the Metropolitan Opera House following her death, and she was also awarded the medal of Alfonso X the Wise.
Contribution to formal dance
La Argentina's contributions to formal dance include her unique style, music selection, use of castanets, and the way she structured her performances.
Style
Edwige Feuillère expressed her admiration for La Argentina's classical formation, knowledge, and taste, which brought dignity and nobleness to Spanish folklore. Serge Lifar acknowledged La Argentina's contribution to the history of formal dance, which began in 1920 with her and Vicente Escudero, according to him. La Argentina created her own style by reviving forgotten traditions and seeking out traditional steps from village squares and humble dance schools. She refined and pruned each pattern of steps, keeping only what was essential to conform to her own aesthetic, which combined the purity of classical style with the ardor and character of popular art. La Argentina believed that stylized dance should retain the nature and flavor of folklore while respecting the demands of the stage, such as creating space, accentuating movement, and fitting different parts into the whole.
Music
La Argentina incorporated music from contemporary Spanish composers such as Isaac Albéniz, de Falla, Granados, and Turina into her Spanish dance performances. These composers' music demanded broad choral movements that were not present in traditional folkloric dances. She also worked with young Spanish composers, including Ernesto Halffter, Óscar Esplá, and Duran, to create new scores. Accompanied by notable pianists such as Joaquin Nin, Amparo Navaro, Carmencita Perez, Miguel Berdion, and Luis Galve, La Argentina used a variety of music that suited her performances.
Castanets
La Argentina started using castanets at a very young age, around three or four. Later on, she developed her own method to obtain more pleasing sounds from the instrument and even modified the design of castanets. Her approach to playing the castanets was so influential that many other Spanish artists began to adopt her musical notation for this instrument.